The Dawn of Man

Opening of film dovetails neatly with end of Dr. Strangelove: "We'll
meet again, some sunny day . . ."First image in film is of a
rising Sun.

Dawn of Man sequence in 2001 a "prequel" to Dr.
Strangelove. Obviously, Kubrick pondered deeply the astonishing
reality that idea that man was smart enough to blow up the earth, but not
smart enough to stop that from happening (man doesn't want to nail himself,
but he does). How could such a phenomenon occur? Beginning of 2001
attempts to show how we got fooled into heading down the wrong path. Story
of man told in actions of the simians.

"If there's a World War III, World War IV will be fought with
sticks and stones." Bombing ourselves back into the Stone Age.

Opening of film a twist on Garden of Eden myth. The "Garden" turned
out to be a desert, and it turns out Adam was a chimp. Adam's rib
isn't his, it's from a dead animal. He doesn't create a woman with
it, he kills with it. The Tree of Knowledge is inanimate. The Apple
eaten: meat? steel?

Why the twist? Earth not a garden to lose, but a desert to irrigate
and make a garden. We didn't lose Paradise, we failed to work for
it.

First discovery of Monolith: everything out in the open, can't miss
it, can't hide. Has to be, for the apes. Has to be obvious to
be seen. Second discovery of Monolith: truth is below the surface,
have to dig for it. Still can't hide (from HAL), but now
you're shut in (in a loop: Poole shadowboxing around periphery,
space station circular like a Ferris Wheel -- loop = lack of
progress, going around in circles).

Merging of the literal and metaphorical: Man both a literal and
metaphorical chimp. Even though the answer is right in front of
us, we miss it. Once the obvious is discovered, we're on our way.

Bone right there in full view. Don't have to dig to find it. You
do, however, need to de-anchor the bone from its old frame of
bone-as-structural device and re-anchor to bone-as-weapon. That's
something. Note: if "necessity is the mother of invention,"
(father?), then a primal impulse provided the intellectual
energy needed to make the shift (the same combination that leads
to development of the atomic bomb [cf. later match cut]).

Bone is discovered when the chimp is cut off from the group. When in
a group, listening to the music of the spheres. Alone, coming up with
bad ideas (compare Jack's writings in The Shining, Ripper's plan in
Dr. Strangelove). "Bad" because not thought through (since not
discussed with others; no feedback).

Chimp at first seems harmless. He's "playing" (beginning of
creativity?). But he's playing with fire. It's not just that he's
beating some old bones apart that inspires dread; but the knowledge
of what this will lead to down ("up") the road. (Technical knowledge
+ impulse without correlative long-term view).

"Dawn of Man" music plays while chimp is playing with bone. Now the
"dawning" is the dawning of consciousness (the movement from
unconscious to conscious, night to day, is mirrored in the movement
of chimp to man [ignorance to knowledge]). Note that as Kubrick
films the scene, it only "dawns on" the chimp that he can use the
tool to destroy. What doesn't yet dawn on the chimp is why he
shouldn't (the "is" precedes the "ought"; technical knowledge comes
easier than moral knowledge). The chimp is only smart enough to
discern the obvious.

Existence of the bone guarantees that chimps must now divide into
separate, rival groups: must split apart for "survival" (even
though the splitting-apart leads to Dr. Strangelove scenarios).
In case it wasn't clear before, it is now: bone = death in more
ways than one.

The bone goes UP. UP = "progress"? (But "what goes up must come
down"). Watch for the precise moment when Kubrick cuts from bone
to satellite, and focus on the directional motion of the bone.

The Day of Man: Space Station/Moon

Stewardess returns Poole's pen ("the pen is mightier than the
sword"). Moonwatcher's bone comes back (theme of circularity --
boomerang -- karma -- what goes out comes back in [see also
The Shining -- throw ball against the wall, it comes back]). Note
that here this "coming back" is not obvious; the tool changes form.
Bone then, pen now. This shift in form hides what's really
going on. Have to see below surface to get closer to "reality."

Hypothesis: World finally achieved cooperation (Russians together
with Americans on space station), and was given their reward.

Floyd's conversation with daughter: he does not say "I love you"
at the end.

Floyd's daughter says "yes" repeatedly, much like Molly Bloom
on the final page of Joyce's Ulysses.

Floyd's daughter: Mommy's gone shopping, Daddy's at work,
the babysitter/sister is in the bathroom. And what does she
want for a birthday present? 1) A telephone (even though they
have "lots of telephones," according to Floyd). To this Floyd says
"no". 2) A pet (e.g. a "bushbaby" [bush + baby = return to roots +
return to roots]. To this Floyd says "we'll have to see about that"
(i.e "no"?). But maybe only one of them sees.

The parent-celebrating-child's-birthday-electronically theme
is seen from the other point of view later on, when Poole is
similarly congratulated. (The parent's "Happy Birthday" song
in that scene foreshadows HAL's later "Daisy Daisy.") [Note
that with his sunglasses on (indoors, so doubly shielded from
the sun) Poole sees even less than Floyd. "18 months" (two
birth-cycles [generations?] later, the Child is more removed
than the Parent. Apparently, we've learned well.

There is, implicit in the idea that an American child in a future
society could ask for a bushbaby as a birthday present, a notion of
`human technological triumph over nature' . . .

Floyd is "missing the party."

Floyd's speech: he and the person introducing him "go around
in circles."

"You know, that was an excellent speech you gave us, Heywood. . .
I'm sure it beefed up morale a helluva lot."

Here are five statements Floyd made in that speech:

The cover story of an epidemic might cause concern and anxiety to
relatives and friends.

Floyd found the cover story "personally
embarassing."

The truth could not be presented to the public without
adequate "conditioning" of said public.

The cover story would be
maintained "as long as deemed necessary by the Council."

"Formal
security oaths" would be obtained in writing from "everyone who has any
knowledge of the event," including the scientist complimenting Floyd.

On the ceiling, aimed at Floyd's audience, are cameras.

On one of the ship's readout screens, the phrase "TERM DIAG."
"Terminal diagnosis"?

Floyd and his companions to the moon are lit as though the
blood was drained out of their bodies, their faces as gray
as their suits.

"Well, how about a little coffee?" Coffee is the beverage that
wakes you up after you've been dozing.

The sun is not shown striking the monolith when the astronauts are
near it.

At the TMA-1 site, as the handheld camera is following Floyd
around, you can catch a glimpse of Kubrick, holding the camera and
looking in the viewfinder, reflected in Floyd's visor. Kubrick gets
to "shoot" Floyd and "expose" him at the same time. Now let's see
what develops . . .

Discovery

There is no ceiling and no floor, because the room is always
turning.

Astronaut food looks like baby food.

Note: food is getting blander and blander, from the savage (eating
raw flesh) to the bland (indistinguishable sandwiches) to the
ridiculous (paste), reflecting the personality of its consumers.
Interior life revealed by exterior life, or "you are what you eat."

Bowman burns fingers; a sign, like the zero-g toilet, that a closed
design process inevitably leads to "bugs." He got "burned."

HAL wins the chess game (beats Poole). HAL will always win in a
closed, finite system. In an open system, humanity can prevail; that
is, IF humans have retained their humanity -- and if they make sure
the system remains open.

While watching his parents on TV, Poole is as horizontal as the
mummies which flank him, other than a slight elevation of the head.

Poole jogging: hamster in the exercise wheel.

HAL: "I'm sorry, Frank, but I think you missed it."

DAVID (David vs. Goliath) BOWMAN (Ulysses was an archer). Bowman
kills the Cyclops (HAL has one eye [tunnel-vision? Seeing only at
one level? Only seeing one interpretation as legitimate?]).

HAL's view is, literally, "warped."

HAL: "There can be no question about it." HAL a) has no doubts, and
b) has no doubt that his lack of doubt is unproblematic (he's
"incapable of error").

Bowman draws ("back to the drawing board"). His drawing is of
almost childlike simplicity. Simple to us, but for him, in
his culture, a "great leap for(back)ward." This is irony so
subtle it's gasping for air.

Man must return to childhood to become a superman. Bowman =
"boy-man."

Astronauts in closed pod attempt to beat HAL at his own game -- and
they fail.

HAL knew what was on Jupiter. Wanted to fight to receive the honor.
The human spirit beat the mechanical "spirit."

HAL made a mistake, and that's what made him "human." (Kubrick
proves computer erred by contrasting the Space HAL's answer with
the Earth HAL's answer. One of them had to be wrong). (Also: HAL's
ingenuity at reading lips, curiousity at seeing Bowman's picture).

The Dusk of Man

Hibernating astronauts: the reduction to absuridity (reduction ad
absurdum) of man in 2001. The only thing separating these people from
death is the shape of a line on a graph!

Hibernating astronauts: sleep becomes death with a machine at the
helm.

Careening pod: HAL throwing away the murder weapon.

Everyman/Hero leaves spacecraft to save his companion; goes out to
take the risk, so impulsively that he leaves his helmet behind
(also, error, trust). Does something "stupid" that we "rational"
people would not do. Has faith in himself and his fellow man.
Ultimately, conquers obstacle. This entitles him to receive insight.

The tiny pod holding up Frank's body like Mary in the Pieta, and
the giant ship Discovery just sitting there in space like some giant
God who isn't appeased by Dave's offering. Really cool.

Bowman has to let go of death for life.

Bowman has to go outside the system to break into it. It is only
when Bowman is outside the system that the system reveals itself
to him. (The word "RAD" flashes on the screen as Bowman goes to
save Poole).

Bowman achieves his cosmic destiny by regaining the violence, the
anger, which his numbed colleagues seem to have abandoned.

2001 "breaks" at the literal level here: HAL could have killed
Bowman quickly by depressurizing Discovery; Bowman wouldn't have
had time to put his suit on. Notice the quick cut from tube
to ship, Bowman suited. This breakage may have been intentional, as
if to say,"in the REAL world, you may not be so lucky." (ala Dr. Strangelove).

Bowman blown into the tube: this subliminally echoes our most primal
memory -- leaving a safe, warm environment to be blown out into a
hostile one. Here, however, Bowman wills his own birth by flipping
the switches that will explode him into a very frightening situation.
(This contrasts with an earlier image of Bowman emerging from the
pod to retrieve the AE-35 unit, safely suited, slowly emerging).

The Night of Man

As the Jupiter monolith (the crossbar of the "crucifix") turns
edge-wise from the light, it becomes invisible. [Note that
the logical progression from surface to depth is invisibility: can't
"see" it at all, even if you've dig for it and hit it]

Journey through Infinite: He's being fed all the knowledge of the
Universe -- and he can barely take it (trembling, almost shattered).

18th Century decor at end: must go backward to go forward? We took
the wrong turn back in the 18th century (pre-Industrial
Revolution), so now we have to backtrack to get back to the
right fork? (Compare myth of Theseus and the Minotaur. Goes
into the maze, but carries a thread with him so he can go back
in case he takes a wrong turn; compare that myth with the end of
The Shining).

"Charge: $1.70": 170 first three digits of 1700 (beginning of
18th Century).

By volunteering for the mission, Dave Bowman risks going to Jupiter
and losing all human contact -- which is exactly what happens.

The room is a cage. The room is a cradle.

18th Century decor: that move in the 18th Century was the one that
nearly got us checkmated in the 20th -- well worth analyzing.

At first, Bowman wears the suit. But once he learns he doesn't
need it, he sheds it.

The Last Supper: finally, the food looks good!

Four times monolith appears:

When ape-man learns to use bone as tool.

When astronauts on moon examine monolith.

When Bowman approaches Jupiter.

When Bowman is reborn.

Shape of monolith: a piece of the puzzle -- you only see a little
knowledge at a time -- just enough to get you to the next level.

Shape of monolith: a brick (building material).

Shape of monolith: a tablet (e.g. Ten Commandments).

Shape of monolith: a door.

William Blake: "If the doors of perception were cleansed, everything
would appear to man as it is, infinite."
Confucius: "The way out is through the door."

"Alien noises" in the background: "alien" may refer to alien
concepts.

1 Corinthians, 14:10 -- "There are, it may be, so many kinds of
voices in the world, and none of them is without signification."

End of film: twist on the Virgin Birth myth. Here, not only
no Father, but no Mother.

The film ends when all relevant events that might be recorded by the
eye or film have ended.

The Revelation, 10:4 -- "And when the seven thunders had uttered their
voices, I was about to write: and I heard a voice from heaven saying
unto me, Seal up those things which the seven thunders uttered, and
write them not."

"Progression" of man; close to earth to away from earth (Myth
of Antaeus). At end of film Starchild is "coming back to Earth"?

Has to leave Earth to understand why must go back to Earth (going
backward to go forward). This reverses the direction of the film
up to this point, from leaving roots to returning to them. "Absence
makes the heart grow fonder."

Matthew, 18:

"At the same time came the disciples unto Jesus, saying, Who is the
greatest in the kingdom of heaven?
And Jesus called a little child unto him, and set him in the midst
of them,
And said, Verily I say unto you, Except ye be converted, and become
as little children, ye shall not enter into the kingdom of heaven.
Whosoever therefore shall humble himself as this little child, the
same is greatest in the kingdom of heaven.
And whoso shall receive one such little child in my name receiveth
me.
But whoso shall offend one of these little ones which believe in
me, it were better for him that a millstone were hanged about his
neck, and that he were drowned in the depth of the sea. . . .
And if thine eye offend thee, pluck it out, and cast it from thee:
it is better for thee to enter into life with one eye, rather than
having two eyes to be cast into hell fire.
Take heed that ye despise not one of these little ones; for I say
unto you, That in heaven their angels do always behold the face of my
Father which is in heaven.
For the Son of man is come to save that which was lost..."

Congruence

Indirect Communication

When Human touches Monolith the second time, he touches through a glove. Now secondhand, not direct.

HAL: Artificial intelligence.

HAL/IBM connection.

Banal dialogue.

"I'm really not at liberty to discuss this."

Talking to daughter and parents through screen.

Lip-reading.

Eyes

Leopard

HAL

Pod

Bowman

Starchild

Lying

Cover story on base.

Astronauts not told purpose of mission.

Hal lies to astronauts.

Lack of awe in the presence of the Awesome

Floyd has no reaction to spinning Earth in the phone booth.

Astronaut photos in front of monolith (contrast with ape reaction).

[X deliberately planted Y] "How about a little coffee?"

Murders

By MoonWatcher

By HAL

By Bowman

By the Monolith?

Birthdays

Man

Floyd's daughter

Poole

HAL

StarChild

Isolation Imagery

A pervasive theme of - for lack of a better word - loneliness in 2001. Many of the physical compositions of the frame are based on
isolating one figure (ship, computer, human being, Child). Although the
earlier prehistoric scenes are often violent, all relations are
physical, "bunched up," tight, close. All latter glimpses of man are set
against cold sterile, often near-blinding white backgrounds which
contrast a lone figure with its/his expansive surroundings. The human
zoo scene is a good example, but an even clearer one for me is the Poole
jogging scene. The music playing during that scene to me expresses the
great loneliness of an expansive, infinite space.

Weightlessness Imagery

One possible theory I would like to advance (with very little evidence
to back it up) is that Kubrick suggests a parallel between `physical
weight' and `moral weight' through the visual elements of the film. The
film's earliest `amoral' act is immediately followed by the celebrated
slow-motion shot of a bone club in free-fall, cutting to the weightless
free-fall of a military satellite in orbit around the earth. In the film's
most morally-ambiguous passage -- the death of HAL 9000 -- Bowman also is
floating in the weightlessness of the Discovery: his passage from the
centrifugal carousel to HAL's central processor is intended, I would
suggest, to show that his act of murder possesses little moral weight when
viewed in the context of a wider violence that is inherent in the human
condition.

General

Alignment of planets along axis: think of what had to be true for
2001 to be made -- Kubrick had to have had major success prior to
that point to get the funding for such an expensive film, the studio
had to be headed by someone who wasn't a "bean counter," the nation
had to be in the midst of sending a man to the moon (thus making the
topic of space "hot"), and America's consciousness had to be totally
twisted from the 50's mentality that infects even Dr. Strangelove, a
1964 film. Yet, every four million years or so, planets do align on
an axis.

In my opinion, what makes 2001 pure art is that the message and
the medium are inextricably bound together. The "story" that 2001
conveys cannot be so done in any other medium -- it is pure cinema.
It is not a simple narrative that can be put in words, nor is it
something that can be done with still images, sounds, music or any
other artistic medium . . .

In 2001, time is noticeable by its absence. The forces behind the
monoliths are able to span the millennia between ape and space
travel, and by the final scenes (of Bowman's retirement), time has
become irrelevant.

Almost utter submergence of the "female" principle [or soft vs. hard
or warm vs. cold or "yin" vs. "yang", for a more neutral
formulation] (except huddling of apes in beginning): warmth,
caring, nurturing, real physical contact, "down to earth" etc.
gone. Child and Parents viewed through a TV screen. Women in film
made robotic, just like the men.